Margaret Fuller’s Reading Worlds

Author

Lucan (Marcus Annaeus Lucanus)(39–65 CE)

Lucan (Marcus Annaeus Lucanus) is documented in Fuller’s reading notebooks. One work is named, all in Notebook: Artists, and the most intensive engagement recorded is “quoted”.

Engagement
QuotedMentioned
Present in
Notebooks
Totals count documented engagements, once at the earliest witness. How we count →

Reprints, Memoirs passages, and repeat notes within a single manuscript are shown but never counted twice. Evidence for this author is selective, not exhaustive. Methodology →

In Fuller’s words

“Lines affixed to the beautiful / engraving of Guido's Aurora / from Lucan. / Quadrijugis invectus Equis Sol / Aureus exit, / Cui septem variis circumstant / vestibus Horae; / Lucifer antevolat. Rapida fuge, / Lampada Solis; / Aurora umbrarum victrix, ne victa / recedas.”
Pharsalia [De Bello Civili] · Notebook: Artists

When Fuller engaged with Lucan (Marcus Annaeus Lucanus)

No datable encounters with Lucan (Marcus Annaeus Lucanus) have been catalogued yet.

This page brings together documented engagements currently identified within the Fuller Reading Worlds catalog.

Lucanus) in Fuller’s reading world

Documentary evidence

Selected passages from Fuller’s own writings, in chronological order.

Undated

Pieces with no legible date. They are part of the record but cannot be placed on the lifeline.

n.d.—

Notebook: Artists

p109
quotedManuscript page
“Lines affixed to the beautiful / engraving of Guido's Aurora / from Lucan.”

Fuller, Margaret. "Notebook: Artists." Houghton Library, Harvard University; bMS Am 1086 (94); Box 6.

Inferred Fuller attributes the Aurora lines to Lucan, but the verses appear primarily as the inscription on the engraving after Guido Reni's Aurora fresco (Palazzo Pallavicini-Rospigliosi, 1614) — their actual source in classical literature has not been confirmed in Lucan's Pharsalia.

Fuller transcribes four Latin hexameter lines attributed by her to 'Lucan,' described as 'Lines affixed to the beautiful engraving of Guido's Aurora.' These verses appear as the standard inscription on widely circulated 18th–19th-century engravings (notably Raphael Morghen's engraving c. 1787) after Guido Reni's Aurora fresco in the Casino dell'Aurora, Palazzo Pallavicini-Rospigliosi, Rome (c. 1613–14).